molecular

Outlines

Excess and Affection Exhibition

Since working with the silver circles, as raindrops, I have begun to think more about natural, traveling, 'objects' that exist in multiples, such as falling leaves, dandelion heads, grains of dust, seeds. In the garden of the Intermedia building here in Budapest, it was the sycamore propellers (seeds) that I have become fixated on.

I suppose my aim here is to explore the visual journey of fetishising an object that exists as a multiple of infinite number. In this case, I made an installation outside, under the sycamore tree. The grey lines show the direction and journey of the propellers to the ground, the natural . The silver circles under the propellers that are fixed to the ground (this time they are not raindrops), act as markers, aiding the selection process. The process of choosing a number of 'special' propellers in the garden full of them is totally random. I feel that this explains my interest in how the decision to choose a certain one of many is unconscious, without method, and with a certain amount of mystery to it.

To further my inquiry, I choose a number of propellers, as randomly as possible (which is a method in itself) and placed them in the hexagonal box. The box, to me, is the precious objects' chamber, where the chosen, fetish objects are presented. I wanted the contents of the box to be be visible only when you are very close to it. i guess this is inspired by my research into tourism, with the idea that the tourist has to be very close to a displayed landmark/painting/monument/sculpture to really appreciate it.

The two parts of the installation are different stages in the fetish and exhibition of chosen objects. This is an ongoing exploration.

      

fe·tish

noun \ˈfe-tish also ˈfē-\

Definition of FETISH

1

a : an object (as a small stone carving of an animal) believed to have magical power to protect or aid its owner;broadly : a material object regarded with superstitious or extravagant trust or reverenceb : an object of irrational reverence or obsessive devotion

Silver and Sycamore

Baby Shadow

I took these photos in a friend's flat on a quiet and sunny morning. The momentary image made on the wall by the net curtain was such a secret, delicate pleasure to see. The picture of the friends godson on the desk gives the image a totally different meaning to me, than if it was just about the shadowed pattern on the wall. I am interested in the temporary miracles of light, of wind, rain, that happen around us, and documenting and collecting them as precious keepsakes.

Zichy Jeno Exhibition

The second exhibition of the term. Including the 'Allan' crew from the Hungarian University of Fine Arts Intermedia Department. In the courtyard at 3 Zichy Jeno utca (street), home of Daniele Palumbo, friend of Intermedia.

My piece is the silver circles arranged on and under a bush. The idea was to represent the reflective surface of water on the leaves. But, we didn't predict the rain that actually happened on the day of the exhibition. Lots of the group wanted to postpone the exhibition but we went ahead as planned. The wetness of the floor caused my circles that were on the tiles on the ground to bend and shrivel slightly. Still, it was a sunny/rainy day, so the circles reflected the light.

I was wanting to take the water away from the natural drainage system in the courtyard, the square drain being a place of gravity, suction, pull for the water in the courtyard. By creating my own 'water' and placing it in another steadfast holding area in the courtyard, I was trying to displace the central water 'feature'. The use of circles was important as a contrast to the tiles on the ground, and using the shelter of the bush to disperse the circles from made it subtle.

Silver Circles II

After a lot of experimenting with perspectives and shadow-making with the silver circles, this is the best representation of what I was aiming for. The slightly raised circles (on pins) create shadows on the wooden floor, and the slightly transparent circles (where the silver spray isn't totally opaque) let's you still see the pattern of the floor underneath.

Silver Circles

i started working with acetate because of its reflectiveness, and it's transparence. I wanted to obscure the transparency slightly using spray paint. the overall aim was to use the uniform circular shape to transform the surface i placed it it. with the wooden parquet floor, i was interested in combining the lines of the floor pattern with the circles/.

The thing that has been sparking interest for me recently is the ground. Floors, streets, surfaces. The natural and unnatural patterns. Initially, it was the shadows on the stairs caused by the iron stair-railings. Then is was the cracks in the pavement and roads caused by the heat causing the tarmac to expand then shrink again in the cold. Also, rain on the ground, and also the wet roads after they spray the streets at night (because of the dust in Budapest, it is done every night by trucks.)

I think the ground is also where i'm interested in working recently too. but not exclusively.

Cabinets

I wanted to make a collection of photos of these display cabinets which are out on the streets in Budapest. They are permanent advertising spaces, and have so much more solidity and grandeur than posters or billboards. The old-fashioned window-cabinets intrigued me, not to go into the courtyard, where the shop advertising leads to, but as frames/containers as sculptural objects, maybe.

I am interested in the different glass, the wood or metal frame, the non-uniform shapes of the various cabinets. The matching pairs on either side of the doorway, the upkeep of some of them, the neglect of some. I walked past one of my favourite ones (a knitting shop advertisement, row 1 column. 1&2) and it was in the process of being changed by the new shopkeeper. The old knitted items were being replaced with balls of wool stacked high in the colours of the rainbow. I stopped and took another picture, and the owner started to talk to me. I explained that I was an art student and I tried to explain my fascination with the cabinets, their function, their ubiquity. It was difficult to explain, so I just said something about being interested in knitting (which is true), so she took me into the shop. She had come from New York, though her parents were Hungarian, and she had just taken over the running of the old wool shop. She was keen to promote Hungarian yarn, made using Hungarian wool, and also to promote knitting and contribute to and nurture the small knitting community in Budapest. I was in the little shop, and there was an old lady sitting on a chaise long, doing some knitting, with three or four other pieces of half started knitting beside her. The owner was also a knitwear designer, so i looked at some of her clothes, including knitted bikinis.

I felt like this was a treasure I had been led to, but unfortunately, it was wasted on me, as I just wanted to get back out on the street to look at more cabinets.